A new commanding officer arrives at a remote castle serving as an insane asylum for mentally ill and A.W.O.L. U.S. soldiers where he attempts to rehabilitate them by allowing them to live ...
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A new commanding officer arrives at a remote castle serving as an insane asylum for mentally ill and A.W.O.L. U.S. soldiers where he attempts to rehabilitate them by allowing them to live out their crazy fantasies while combatting his own long-suppressed insanity.Written by
William Peter Blatty has said that he considers this movie to be the true sequel to The Exorcist (1973) as opposed to a mere follow-up. The novel and film of "The Exorcist" deals with the existence of both good and evil, "The Ninth Configuration" deals with the mystery of good, and the third novel, "Legion", deals with the human's punishment of evil for original sin. Captain Cutshaw is the same astronaut whom Regan warns "You're gonna die up there" in "The Exorcist". See more »
First version seen in US during general release was distributed by Warner Brothers and ran 112 minutes. It contained following differences from the 118 min. director's cut seen on the 2002 DVD:
Soundtrack in Stereo
Opens with Warner Brothers logo
Credits sequence immediately follows logo and does not feature brief "computer print-out" sound fx
Ed Flanders' opening narration over master shot of castle immediately follows scene of Cutshaw awakening from nightmare and looking out at the sunrise, and then cuts to the wacky assembly of the men in the courtyard, which plays straight through.
Joke about Cutshaw's squeeze-bulb-horn cane being a "foghorn" is absent
No suspenseful music during Kane's introduction to the group and initial entry into the castle
Sound effect of chips crunching in Cutshaw's pocket absent from sound mix after the first indication
Cutshaw's "Show me a Catholic..." line is delivered in alternate, medium angle take
Fell's dialog about the men having high IQs and Kane's dissertation on evil and suffering is absent. After Fell discusses Reno it cuts directly to his joking suggestion of shock treatment
Reno and Spinnell's interchange regarding types of dogs for Shakespearean roles has music playing in background, is preceded by an exterior of the castle at night, and runs longer to show Cutshaw enter and add "Reno, in need you", to which Reno replies, "You need me? Hell, I need me!"
Reno's line to Cutshaw in the tree, regarding "ski tracks on the table" is absent
Lunar crucifixion dream is shown with rain falling throughout, and runs slightly longer
When Kane looks over at the chair, the muted calls of "Vincent!" and "Oh God, I love..." are absent from the soundtrack
Groper's complaints to Kane about the men are heard off-screen as Fell is seen breaking down outside Kane's office, and the scene inside the office with Kane reading the love letter is absent
Fairbanks trying to get a soda from the Pepsi machine is seen without hearing Reno calling for Kane and insulting Fell, which is then seen directly afterward, on-screen, before the Hamlet dissertation
During Reno's Hamlet dissertation, Reno insulting Fell ("coextensive with Nero's ass") is absent
Fairbanks complimenting the atoms in water is absent
The Frankenstein-masked Cutshaw has an extra line to Groper on the soundtrack after he "claims this swamp for Poland"
Scene of Reno trying to teach sheep Shakespeare is absent
As the Chain Gang parties at the bar, there is a shot of topless biker women with painted nipples dancing, in lieu of the shot of the nameless victim (seen bound and gagged in the back of a pick-up truck at the film's beginning) nodding his head
The exterior shot of Kane arriving at the bar runs slightly longer
After the bar fight, an interior scene of Kane and Cutshaw returning to the castle precedes the shot of the police car racing up to the castle. In the scene, Cutshaw lets Kane, who is wearing Cutshaw's letterman jacket like a cape, inside the main hall and they both slowly ascend the stairs to Kane's quarters
When Cutshaw returns to the castle in the epilogue, the exterior scene cuts to the interior at the point where Cutshaw is just entering Kane's office. The scene with Cutshaw in the main hall is absent.